The exhibition is, through the metaphor of morphology, exploring the mutability and transformative nature of vegetative, bodily and abstract shapes. Rather than alluding to the ideal, it finds its subjects in the natural which is, by the authors inventively transcended to interpret the situation/shape. On the one side, the installation, from the artistic point of view, inclines towards a surrealistic perspective. On the other, towards the conceptual one. There are three principal spheres: vegetable, animal and human. That is vegetative, zoomorphic and anthropomorphic. Ostensibly, these are rigidly set categories. In reality, however, they turn out to be inseparably intertwined not only relationally on the ecological level. They are, significantly, also connected by the external morphological resemblances. Consequently, a space of interface emerges, which is simultaneously a place of interconnectedness. 

The sculptural objects executed by ELIÁŠ DOLEJŠÍ make visible the expressive spaces in between the vegetative, bodily and the industrial. Moreover, the author simultaneously stimulatingly employs the Constructivist form. Essentially, the crossing of borderlines is fundamental to the sculptures and graphics produced by MARIE JAROŠINCOVÁ in which she reflects upon the extremes of both physical and psychological states experienced during the endurance sports. The author is interested in the interface between both the anthropomorphic and abstract forms. Furthermore, ROSWITHA MAUL, through her installation, explores the very possibilities of connecting the ‘’species’’ within the exhibition itself. She utilises the form and structure of a net, alludes to the phylogenetic tree and taxonomical systematisation or branching. PETRA SKOŘEPOVÁ (born 1991) mediates through her objects upon the cyclical nature of life in general. What is crucial to her is the ecological contingency of natural elements together with the human factor acting upon the environment. Finally, the interface between the vegetative and the bodily is rendered by the sculptures of TOMÁŠ VOVES (born 1992). His primary interests lay in the growth of timber species and the constant interconnectedness of dying and regeneration. 

Conclusively, the exhibition ‘Morphology’ focuses on the ubiquitous creativity encoded within the natural forms themselves. It emphasises the sculpture, object and installation as the artistic agents articulating the theme of a primary energy of life; the theme of bonds between each of the elements constituting the whole while alluring to the original meaning of the word ecology.